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Índice Nº2: Alta suciedadJacques- Alain MillerLos conceptosLa clínicaEl hospitalLa prácticaMiniaturasLas cartasMisceláneas: Foucault, Marx, HuxleyLas letras: Beckett, SwiftCity-tour: Quinquela, McQueen, Beckett, KuczynskiLa entrevistaDossier: Mundo InmudoBonus track: Comprometerse | Gérard WajcmanEpílogo

This article works on the film Roma directed by Alfonso Cuarón (2018), inspired by the director´s childhood and the women who rised him. In this film, a woman from the Mexican aristocracy and her employee face distressing circunstances and invent a knowledge there, without men. Taking this situation as the axis, the work proposes to think about the agglutinating component in contemporary social link, taking the case of feminism as a symptomatic response to the discontents in the civilization, in its difference within the links that come from The-name-of-Father institutions.

Editorial del Ética y Cine Journal, Volúmen 9, Número 2, Julio 2019.

In this essay are adressed two exciting films where female superheroes are protagonists. This is a recent movie genre that is having a great reception among fans, this is as a novel way of telling action stories. The first film, produced by DC comics and Warner studios, Wonder Woman(Jenkins, 2007), the legendary Amazon, heiress of the Olympian gods and one of the leaders of the justice league, a prototype heroine charactheristic of feminine ethics of care. The other film is from Marvel Comics, Captain Marvel (Bodoen y Fleck, 2019), an incredible pilot, who by an act of chance got superpowers of alien origins and becomes the strongest avenger and a key element of the new super production of this publishing house, being a representative of the Ethical feminist liberals. Each of these superheroes has different origins and also has characteristics related to the current feminist ethics. The wonder woman bases her moral development on equity, the special characteristics of women and their devotion to care. On the other hand, Captain Marvel, a competitive leader who has a development in the pursuit of gender equality in the face of adversity and power conflicts. This essay wants to evidence the differences of these characters and their divergent moral associations, and how this determines a particular representation of the ideal woman who it seems to have each of the comic book publisher.

The present article seeks to study the film La Flaca Alejandra: vidas y muertes de una mujer chilena, made by Carmen Castillo and Guy Girard in 1994. Produced during the period of the democratic transition, the film focus on the figure of Marcia Merino (political name “La Flaca Alejandra”), far-left militant who became a collaborator of Pinochet’s regime under torture. Throughout the text, it will be argued that Castillo’s film functions as a site for the establishing of a double “mise en scène” of the ‘self’; a place where two divergent life trajectories intersect with each other: that of the filmmaker, present as well in the image, and that of the filmed subject, the “symbol of treason” Marcia Merino. As an instance of a two-fold return to the scene of the trauma, the endeavor of La Flaca Alejandra will finally be understood as an attempt to put into contact, albeit without forcing them to reach a synthesis, two irreconcilable testimonial voices.

Superhero films show us significant attitudes, embodied in characters that, as the main objective, have the obligation to decide in situations where their moral principles are put in question. Their lifes move among a myriad of aspirations and fears that usually end up putting the survival of the human species at risk. Thus, the superhero must be considered by bioethics, since, this science fiction film confronts us with dilemmatic situations in which our conceptions on topics such as nature, survival and interventions to the human species, demand us to question ourselves about of what we can allow, favor or prohibit, about the use of, for example, biotechnology on human and non-human lifes, highlighting that the limits between human and non-human have become more insecure.

On a few occasions it has been seen in the Plaza de Mayo filled with souls in a climate that overflows with hullabaloo. Paradoxically, on two occasions, that expression of spontaneity motivated by a banal nationalism present in Argentine society, by the last civil-military dictatorship (1978 and 1982). Particularly, on April 2, 1982 and with a dictatorial regime cornered by different fronts, society rushed to get out of their homes to approach that historical point of reference in order to support the recovery of the Malvinas Islands. However, such a romance did not last until after the fateful June 15, at least when he went to the front and returned to try to reinsert himself into the community. In this case we will work with the film Argentine soldier only known by God, directed by Rodrigo Fernández Engler and released in the year 2017. In this film, co-produced by Cita con la Vida. Audiovisual Undertakings, Midú-Junco Producciones and Fundación Criteria, with the support of INCAA and the Argentine Armed Forces, exposes the story of three young Argentines who spend before, during and after the Falklands War, but that exposes a series of elements that allow us to think of society as an active subject in the future of events.

Telupaï is a ten-year-old boy who lives in a town in the Andes mountains and wants to become a shaman. To this end, he and his friend Naïra embark on a journey through unexplored lands of stalking risks. They go in search of a lost totem that is of great ceremonial value to their people. Pachamama is that totem that protects them and has been confiscated by the Incas. This search takes the protagonists towards Cuzco, the capital of the empire, besieged by the conquerors, so that the conquest of the Incas and that of the Spaniards are juxtaposed there. To know more we must wait until June, when Pachamama premieres, the animated film by Argentine director Juan Antin. The film was presented in Paris in December 2018 and is nominated for the César Awards of French cinema as the best animated film. Netflix has acquired the rights of its distribution so a global audience is sponsored.

The aim of this article is to analyze the process of filmic adaptation of Claudio Tamburrini’s testimony, Pase libre. La fuga de la Mansión Seré (2002), into Israel Adrián Caetano’s Chronicle of an Escape (Crónica de una fuga, 2006). The paper considers the problem of transformation of point of view in the transposition of a first person testimony, as well as the use of horror genre codes in the cinematographic representation of concentration camps in Argentina’s last military dictatorship (1976-1983). The construction of characters and the effects of suspension of morality inside the clandestine center of detention and torture are also studied. Finally, the article discusses the limits of literary and audiovisual representation of horror, in order to avoid spectacularization and sensationalism.

This essay fills a gap in our understanding of Benigno by placing in sharper focus the internal location of “Men” and “Fathers” in his psychological life as illustrated by the film narrative. I will also touch upon Pedro Almodovar’s personal experience with men and “ Fathers” given that hisown issues are somewhat reflected in the film. One caveat of course is that characters in a film are not always representative of he writer/director’s life; however, they inevitably are created out of the director/writers’s personal experience and illustrate his or her conflicts, interests and illusions, directly or obliquely. What we express are always aspects of who we are or wish we were.